Da literatura à literatura infantojuvenil: processos formativos em Guimarães Rosa

Abstract

This work is part of the Research Lines Fundamentals of Educational Processes of the Graduate Program in Education of the Faculty of Education of the Federal University of Goiás. The general objective of the research was to understand the aesthetic elements of Guimarães Rosa's short stories “Green Ribbon in the hair” and “The third bank of the river” being the first published and the second classified later as children ́s literature. As specific objectives, he sought to understand what is a formative literature from two short stories by Guimarães Rosa "The third bank of the river" and "Green Ribbon in the hair", which, originally, were not produced for a specific reader; and to analyze whether the stories published as children and adolescents maintain aesthetic elements that instil the formative experience. The methodology was based on the analysis of these two stories published initially in book and without classification of reader and the same stories published later and / or classified as children ́s, being only one classified and another adapted. Still the authors of the Critical Theorem Theodor W. Adorno, Max Horkheimer and Walter Benjamin base the research, mainly with respect to the studies on art, Literature and Cultural Industry. Dialectical materialism was the guiding axis of the research because it understood that reality is contradictory and historical. We realize that in his production, the children ́s tales "The third bank of the river" and "Green Ribbon in the hair: new old story" do not idealize an abstract childhood, infantilized or stereotyped, that only has innocence, but treats this phase as full of conflicts, contradictions, permeated by fear, suffering and anguish, so it offers the basis for facing reality. Childhood is treated as a social experience that is the matrix of memory. Thus, the tales present a wealth of meanings that do not lend itself to instrumental use or to "pedagogization" with preestablished contents. They bring the narrative permeated by the experience of those who write and mediate for the experience of those who listen or read. In this way, as it is a finished totality with permanent unfinishedness, they are able to mediate experiences and narrations in the reader. They present aesthetic elements such as universality, historicity, enigma, allegory, mimesis, with relations of similarities, form and content, part and all, non-standard language, reason that deniespragmatism and functionality, sensitivity and does not expropriate Kantian schematism, distancing itself from the semiformation provided by the cultural industry. In both stories, the images enriched the narrative by involving the exercise of examining, evaluating, correlating and, above all, thinking about what is seen. These elements indicate how much the tales are formative and highlight the literature as production of culture, an expression of art and education for resistance to bourgeois society of adaptation.